I think that one of the visions that is closest to reality is the cardboard city in the subway station in Tokyo, which is based very closely on a series of documentary photographs of people living like that and of the contents of the boxes. Those are quite haunting because Tokyo homeless people reiterate the whole nature of living in Tokyo in these cardboard boxes, they're only slightly smaller than Tokyo apartments, and they have almost as many consumer goods. It's a nightmare of boxes within boxes.

I can't do fiction unless I visualize what's going on. When I began to write science fiction, one of the things I found lacking in it was visual specificity. It seemed there was a lot of lazy imagining, a lot of shorthand.

I'm not a very intentional writer. I try to be as unintentional as possible. What I basically try to do is invite the zeitgeist in to tea.

I don't think about the real future very much.

The construct of William Gibson the Writer is coming down, and become more open. It's more of a Glasnost - Transparency! Transparency is what it is.

I think that the collectible ephemera craze/awareness is probably driven by a reverse market, rebounding off the sense of everything being mass-produced. It's the last step you take in trying to find something unique.

I have this prejudice that trilogies are long, three-volume novels.